Around Hear Page 3
Taking bits of free jazz, modern classical, and acid rock, Random Touch truly lives up to its moniker. On its CD/DVD combo, Alchemy, the trio takes an experimental, albeit sleepy, instrumental stab at the icy “Abandon,” the choppy “Bound For Escape,” and dreamy “As Above, So Below.” While not incredibly worthwhile in audio contexts, the DVD is less likely to incite drowsiness with accompanying visual images and studio jams. (www.randomtouch.com)
– Andy Argyrakis
Power rock trio The Rikters proves less is more on its new EP, Don’t You Get It. The group’s barebones arrangements allow its musicianship to shine through on punchy, pop-worthy numbers like “Want It, You Got It.” But just as inviting is lead vocalist Doug Jenkins’ unusual introspection on lines like “Wondering if true love is really Disney propaganda.” (www.therikters.com)
– Max Herman
Gabe Rosen And The Good Enough Band kick off Long Time Away with the toe-tapping “Since Arizona,” but too many other tracks have slow, repetitious arrangements. Rosen, like his mates, is a talented musician, but his folksy vocal delivery sounds artificial. He’s particularly out of place amid the lush harmonies crafted by keyboardist Eric Chase and drummer Jim Landeck on “Strange.” Chase’s instrumental, “Sunday Morning (Maple),” offers a welcome change of pace. (www.myspace.com/gaberosen)
– Terrence Flamm
Chicago guitar slinger Ray Sapko dates from the old-school Chi-town rock scene and was a founding member of Tantrum, which performed from 1978 to 1981. He has continued to perform and write since then and now checks in with his solo CD, The Way Beyond Blue. The disc is a 10-song instrumental outing that showcases Sapko’s considerable skills as a player and composer. Sapko is a rock melodist in the Satriani/Santana vein, and fans of those players will like many of the tracks here, including “Sky King” and “Cirrus.” (www.raysapko.com)
– Mike O’Cull
With track titles like “Hospital” and “Dead Friends,” one might think listening to C’mon Already – Start A Fire would be morose. Yet The Saps‘ collective tongue is planted firmly in cheek, and all 10 pop songs on their latest CD are quirky and upbeat. There’s not a deep thought to be found, which is just fine: The band clearly know a few fun musical moments can sometimes be far more fulfilling than an entire album of serious sentiments. (www.thesaps.com)
– Jeff Berkwits
As if broadcast from the bottom of a well protected by Phil Spector’s wall of sound, Devastator – the 12-cut, 30-plus minute debut from STAR – might be the most irresistibly original sound out of Chicago since the rise of house and WaxTrax. The melodically dreamy, post-’80s, goth-edged noise generated by this minimalist trio (guitar, beats/bass/mixer, vocalist/lyricist) hits apogee on “Liars In Love” as the band’s subliminal catchiness bursts into full big pop song flower. But no song disappoints. Definite life transformation potential here. (www.lovelyrebelrecords.com)
– David C. Eldredge
Singer-songwriter W. Nash performs romantic ballads under the moniker Steelspring on Better Living. The lustful “Hunger And Thirst” is over the top, but otherwise, Steelspring’s smooth vocals make for entertaining easy listening. The childlike “Crickets” is a fun detour, and Steelspring gives “Just Friends,” written by Sam Lewis and John Klenner, a touching rendition. (www.steelspring.net)
– Terrence Flamm
Three tracks comprise Sterling‘s Cursed, which builds upon their brand of proto-metal, vocal-less post rock. With its sludgy bottom and menacing pomp, “Lurker” recalls Pelican, with a pining lead keyboard replacing the scraping distortion. There’s a heavy hint of prog in the lengthy “Acacia” as a brooding organ guides us through the fog machines and echoing guitar. By contrast, “Eyes” is a (relatively) concise exercise in classical motifs and post rock histrionics, akin to In The Nursery crossed with Mogwai. (www.sterling.com)
– Patrick Conlan
Stone City Stragglers take their name from the four gray walls that once defined their native Joliet. And much like the now-shuttered prison, their musty country & western music lives somewhere else in time on It’s Never Too Late To Mend. “There’s no prison in the promise land,” hopes vocalists Brent James and Allison Moroni on “Big River Blues.” It’s a stranger take on Whiskeytown’s sad duet style, and one that remains slightly out-of-reach to those in the now. (www.stonecitystragglers.com)
– Mike Meyer
The Tallest know how to have a rollicking good time, and the fever spreads through the 10 tracks on The Future Burns The Sky. Frontman Atom Plasma’s voice sounds as sketchy as his name, but works within the confines of the four-piece’s material. The bah bah bah bahs of “Can I Borrow A Feeling” could be erased from an otherwise catchy rock ‘n’ roll tune, while Plasma gingerly croons on “Sunny Beach” to great effect. (www.thetallest.net)
– Janine Schaults
Even though Thunderwing formed in the early 2000s, its latest CD, Bang, sounds like it came straight out the punk and glam-soaked ’70s. “Sharpen Your Teeth” and “Ballad Of The Kids” combine the best of David Bowie and Iggy Pop, while “Stars” and “Whiskey” recall the garage rock grime of MC5. Though not entirely original, the album brings timeless, no-nonsense sensibilities to a younger generation. (www.thunderwingusa.com)
– Andy Argyrakis
Category: Around Hear
